#into the woods on broadway 2022

[puppetdaily]

Milky White from Into the Woods on Broadway, 2022

[theatreism]

the roof, the house, and the world you'd never thought to explore

[its-your-girl-geekerella]

INTO THE WOODS WON.

This is my absolute favorite musical.

That being said, I seriously doubted that it would win, especially compared to something like SIX.

I'M SO HAPPY. Ok, I'm done.

[ceo-of-kcwt-college]

Can't wait for all the Hamilton/Into The Woods crossovers

Into The Woods 2022 has an amazing cast!! Yall should listen to it

[broadwaydivastournament]

Broadway Divas Tournament: Round 1D

This is a Titan vs. Titan fight and I apologize for nothing. I woke up and chose violence throughout this entire poll.

Seven-time Tony nominee, two-time winner Bernadette Peters (1948) has a sixty-plus year stage career of monumental proportions. Considered the foremost Sondheim interpreter, their collaborative works include Sunday in the Park with George (1984), Into the Woods (1987), Gypsy (2003), and Follies (2011). She has a thriving concert career, and was a co-founder of the beloved Broadway Barks event each year in Shubert Alley. She has an honorary third Tony (Isabelle Stevenson Award) for her outstanding advocacy and philanthropy.

Eight-time Tony nominee, three-time winner Patti LuPone (1949) has a staggering fifty-plus year stage career. Award-winning roles include Eva Peron in Evita (1979), Gypsy (2008), and Company (2022). She has toured the US with her wildly successful concert and cabaret acts, and will kill you on sight if she sees a cell phone in the theatre. Patti was NOT Norma Desmond on Broadway, and because of it, is the proud owner of the ALW Memorial Pool. She is no longer a member of Actors' Equity.

PROPAGANDA AND MEDIA UNDER CUT: ALL POLLS HERE

Pictured Annie Get Your Gun (Annie Oakley), Gypsy (Mama Rose), A Little Night Music (Desiree Armfeldt)

"Do I even need to write propaganda for these women? Do they not speak for themselves? Very well. Bernadette Peters in Cinderella (1997) was my very first, official, undisputed gay awakening. I was three, and enamored with the stepmother. This would prove to be a blueprint in my life, and well, here we are, twenty-some-odd years later, with a thing for stage actresses who play redheaded stepmothers in various Cinderella adaptations. It's a surprisingly common phenomenon."

Pictured Annie Get Your Gun (Annie Oakley), Gypsy (Mama Rose), A Little Night Music (Desiree Armfeldt)

"This woman can breech the sound barrier. The reverberation she gets on that one note in her Anything Goes Tony performance physically rearranges every atom in my body every time I hear it. Patti is THE definition of a Broadway Diva, with more than just a little touch of star quality. Her 54 Below show was an absolute riot from start to finish."

-photo submitted by anon.

(Please note, dear voters, that the above quote is from a clickhole article, and Patti LuPone never actually said it, but it would be on-brand of her if she had.)

[glimeres]

Into The Woods (2022, Broadway) - Digital Booklet Pics

[jgroffdaily]

Broadway Box Office: ‘Merrily We Roll Along’ Ends Run On New High

The revival, starring Daniel Radcliffe, Jonathan Groff and Lindsay Mendez, says it had the highest grossing week ever for any Steven Sondheim musical on Broadway.

Merrily We Roll Along closed out its Broadway run with a new high of $2.77 million, which the production says is the highest grossing week ever for any Stephen Sondheim musical on Broadway.

The revival, starring Daniel Radcliffe, Jonathan Groff and Lindsay Mendez, ended its run July 7, after opening at the Hudson Theatre in October 2023. The revival has continued to break box office records at the theater and has seen a particular rise in grosses in recent weeks, after the production won best revival of a musical at the June 16 Tony Awards, where both Radcliffe and Groff also took home trophies, and as it neared its closing date.

Capacity has been at 100 percent every week of run. And the average ticket price has also increased, alongside its popularity, to reach a new high of $357.94 in its final week.

While Sondheim musicals did not traditionally fare well at the box office in their original runs, there has been a resurgence in the popularity of his shows, and their grosses, since his death in November 2021.

Recent examples include the 2023 revival of Sweeney Todd, starring Josh Groban and Annaleigh Ashford, where grosses hit a high of $2.26 million across a seven-show week around Christmas, and the 2022 revival of Into the Woods, which hit a weekly high of $2.1 million in August 2022.

The revival, directed by Maria Friedman, recouped its $12 million capitalization in March 2024. During the final weeks of the run, the show producers raised up to $4 million to professionally film the production. The filming was done “for posterity,” according to a production spokesperson, who also added, “We’ll see what happens.”

[droughtofapathy]

if you would like to share, I am interested in hearing about the Baker's Wife into the woods hair symbolism

Buckle up, buttercup. I am always willing to share what I think about musical theatre, and especially my beloved Baker's Wife. We've had three originating iterations on Broadway, but both revivals make a crucial mistake in the wig.

So, in the original 1987 production, Joanna Gleason spent most of the show with her hair in a snood. This is a crucial aspect of her character. She is a married woman of a certain age from the peasant class, not some young maiden skipping around the village. Historically, pinning hair up is a significant indicator of maturity and greater social status that being an adult brings. It's also a practical matter. She's a Baker's Wife, for heaven's sake, and is working around food all day. Keeping her hair out of her face (and out of the food) also keeps it from getting coated in flour, or singed by the oven flames. Why do the revivals, particularly the most recent with those contemporary preppy girl waves, insist upon having her hair cascading around her shoulders? This is impractical and out of character.

The Baker's Wife is outwardly a no-nonsense pragmatist with no patience for vanities. She also has her own flights of fancy, and enjoys the romanticism of a prince and a ball, but this is more internal. In having her let her hair down in the most literal sense after bedding a prince in the woods, it provides a physical symbol for her massive departure to the “and” and away from the “or.” Because all of that lusty, wistful, adventurous desire has always been part of her, but she's been careful to keep it contained out of necessity towards her work, her station, her marriage.

Relating to that, Joanna’s “Moments in the Woods” is blocked and choreographed so precisely, and this is lost in later translation. Her Baker’s Wife is physically disheveled, not only the hair, but the buttons on her blouse, the rumpled apron, the discarded scarf. Subsequent character designs have maybe a little hair tousling, but with the recent revival, both Sara Bareilles and Stephanie J. Block start with their hair down and out, and continue like that throughout the show with no change, or growth, or vital (attempted) return to the “or.” (Tangentially: Joanna plays her with noticeably more maturity and authority, despite being younger than both revival actresses, who leaned more into her earnest playfulness. Losing the edge of her deadpan snark really devastates me personally.)

Joanna spends the song deeply in touch with her own body and self. She buttons herself up, she pins her headdress, she straightens herself out, all exactly timed to the words she sings. Her movements are so precise and calculated, smaller and more purposeful, as opposed to the staging in the 2022 revival that has big gestures and outward focus, less on her and her body, and more on “the woods” and the everything else going on. Joanna speaks to herself. It’s also critical that Joanna finishes the song with her hair still down, only ever half-composed. She goes off with her snood still off, with her hair down and headdress only just pinned, halfway to the pragmatic and sensible woman she is in her everyday life. But she never fully returns to that state. She never gets the chance to leave the woods. The change from neat updo to luscious dishevelment is such a dramatic departure that's so delightful to see represented by this simple change.

[soapster13]

I need help finding Cabaret West End audios/videos

Looking for:

*Cabaret with Aimee Lou Wood and John McCrea

*Cabaret with Callum Scott Howells and Madeline Brewer

Cabaret with Fra Fee and Amy Florence Lennox

Cabaret with Adam Lambert and Auli’i Cravalho

* = most wanted

I have to trade: (all are audios)

Wicked (West End): November 2023, Alexia Khadime as Elphaba, Lisa-Anne Wood u/s Glinda

Six (West End): May 2024, featuring 3 alternates: Hannah Lowther as Howard, Naomi Alade as Boleyn, Gabriella Stylianou as Seymour. Main cast: Nikki Bentley as Aragon, Reca Oakley as Cleves, Janiq Charles as Parr

Romeo & Juliet (West End): May 2024, Tom Holland as Romeo and Francesca Amewudah-Rivers as Juliet

Rogers & Hammerstein 80th Anniversary Concert: My Favorite Things: December 2023, featuring: Aaron Tveit, Joanna Ampil, Michael Ball, Maria Friedman, Daniel Dae Kim, Audra McDonald, Julien Ovenden, Lucy St. James, Marisha Wallace, Patrick Wilson. Special Guests: Andrew Lloyd Webber and Rita Moreno

Les Misérables (West End): April 2024, Milan van Waardenburg as Jean Valjean, Stewart Clark as Javert

Cabaret (West End): February 2024, Cara Delevingne as Sally Bowles and Luke Treadaway as the Emcee

Cabaret (Broadway): Eddie Redmayne as the Emcee, Gayle Rankin as Sally Bowles, Bebe Neuwirth as Fraulein Schneider

Hadestown (West End): May 2024, Dónal Finn as Orpheus, Grace Hodgett Young as Eurydice and Melanie La Barrie as Hermes

Hadestown (Broadway): July 2024, Jordan Fisher as Orpheus and Maia Reficco as Eurydice

A multitude of Moulin Rouge Audios

Moulin Rouge (West End): Jamie Muscato’s Last show (Oct 14, 2023)

Jamie Muscato in Moulin Rouge September 2024 (good quality audio)

U/S Christian Davide Fienauri May 2024

Dom Simpson as Christian November 2023

Broadway Moulin rouge

Aaron Tveit, Natalie Mendoza May 2022

Derek Klena and Tasia Jungbauer as Satine May 2023

Misc Moulin Rouge

Boston 2019 with Aaron Tveit as Christian and Karen Olivo as Satine

Tour: Connor Ryan as Christian

Please please let me know if you have any Cabaret west end audios/videos!! 🫶🫶

[foggybear42]

omg i swear im not a musical theatre elitist but omgggg the 2022 broadway cast recording of into the woods is actually unlistenable to me. i cant do it im so sorry

[eddieredmayneargentinablog]

New! SPECIAL FEATURES Eddie Redmayne First Played the Cabaret's Emcee in School, Now He's Doing It on Broadway.

The actor is newly Tony nominated for his nihilistic take on the iconic character.

By TALAURA HARMS , Playbill, May 10th, 2024

📷 Heather Gershonowitz.

Eddie Redmayne is gathering tips. As the Tony and Oscar-winning actor was opening a Broadway musical this season, he was also trying to figure out the best ways to navigate New York City for the six months that he’ll be in the show. His wife and two young children have joined him from London. They’re currently looking for ways to spend summer in the city. And speaking of summer, Redmayne is concerned about keeping his voice in good working order in a city with more air conditioning than he’s accustomed to having.

“I’m accumulating a little handbook of ‘The Survivor’s Guide to Broadway,” Redmayne laughs. “I’m a passionate lover of New York, so any excuse to come here…I’m thrilled.”

The excuse—and it’s a pretty good one—is Cabaret at the Kit Kat Club, which opened April 21 at the August Wilson Theatre. Redmayne reprises his role as The Emcee in the revival of the classic John Kander, Fred Ebb, and Joe Masteroff musical. Rebecca Fracknell directs the production, a West End transfer that won seven 2022 Olivier Awards, including one for Redmayne’s performance. The production has been a hit in the London, where it is currently still running.

Redmayne is the only member of the West End cast, though, to transfer to Broadway with the production. He’s joined at the August Wilson by Gayle Rankin as Sally Bowles, Ato Blankson-Wood as Clifford Bradshaw, Bebe Neuwirth as Fraulein Schneider, and Steven Skybell as Herr Schultz. And both Rankin and Redmayne have been Tony nominated for their performances; the show picked up nine nominations total, including Best Revival of a Musical.

“It’s been such a unique experience because it’s been starting anew and fresh whilst at the same time, having this character sitting in my stomach and ruminating for three years now. And my journey, of the relationship with the character, has been one that stems from, oh gosh, almost 30 years now from when I first played it when I was a schoolboy,” says Redmayne. “There is great joy that comes from that—from each time getting to re-mine the character and re-look at it in a different context and with a different inspiration.”

When Playbill spoke with Redmayne, the company was still in rehearsals for the Broadway mounting. As part of his continuing exploration of the Emcee, the actor had just revisited one of his favorite New York museums, the Neue Galerie of German and Austrian art on Manhattan’s Upper East Side. 

“I was looking at some of the Schiele paintings there and reminding myself of how, when I first started looking into the idea of The Emcee, just having portfolios of Schiele prints everywhere. That was one of the ways in. It was a lovely moment to reconnect and reinspire in the museum.” It is easy to spot the influence of the Austrian Expressionist painter Egon Schiele in the angles of Redmayne’s body as he looks over a shoulder, crooks an arm, or snarls a bit, daring an audience to come a little closer.

The original source material for Cabaret is the 1939 Christopher Isherwood novel Goodbye to Berlin. It was inspired by his own life during the Weimar Republic when the freedom of the Jazz Age was clashing with the rise of Nazism and fascism. The Emcee, though, is not a character in the novel, nor in the play adaption I Am a Camera. He was created solely for Cabaret and does not exist in any of the scenes outside of the Kit Kat Club. The lack of story for The Emcee has allowed Redmayne to create a character almost entirely from scratch.

“He exists almost in abstraction for me. The character is almost like a Greek chorus. He’s sort of the Shakespearean fool. The court jester who then becomes the king,” says Redmayne. “He can assimilate and accumulate people from every walk of life and community, and can seemingly either celebrate or exploit that. As the world is becoming more homogenized and fascism is kicking in, he can shape-shift his way out of it, and he’s going to be just fine. He has the privilege of that. There’s a nihilism, ultimately, to my take on The Emcee that felt important. He’s not the victim. He's the perpetrator".

Cabaret first premiered on Broadway in 1966 and this production is the musical’s fourth revival. Except for the 1970s (when it was adapted for film starring Liza Minnelli), it has been on Broadway at some point in every decade since that first run. “There’s always been this relevance culturally, and that’s terrifying, because it basically sings as a warning to our incapacity to learn from our mistakes,” says Redmayne. “It’s about what happens when humanity is consumed by hate. And the idea of the creation of the other and the exploitation of the other to instill fear.”

Arguably, the musical’s draw has always also been as much about how it presents that message as the relevance of the message itself. The Kit Kat Club is seedy and seductive. It feels naughty…like you’re getting away with something you shouldn’t. And this new production pushes that element far beyond the footlights of a stage. Club, scenic, and costume designer Tom Scutt has reformed the August Wilson Theatre, creating spaces in the house and in the bar for a Prologue company to perform. Audiences are encouraged to arrive early to take in the music and dance cabaret acts prior to Cabaret.

Redmayne is reminded again of his museum visit: “When I was at the Neue Galerie, there was an exhibition on [Gustav] Klimt. This idea that this group of artists in Austria at the time, and then in Germany, were trying to create this world which was all-consuming. It wasn’t just the painting, it was also the specific space in the gallery…you were not just looking at the painting but the entire experience around it. I feel like that is, perhaps, the dream of what we’re trying to do. Once you leave the sidewalk and cross the threshold [into the theatre], you’re being taken on a journey that’s all encompassing.”

Boris Aronson’s original set design for the 1966 production of Cabaret featured a large mirror above the stage, tilted toward the audience so that they could see themselves reflected at both the beginning and end of the musical. Scutt has created a fully in-the-round stage at the Wilson. 

So while the audience is watching the action on stage, they will also be seeing other audience members’ reaction to the story. “There’s complicity in that,” says Redmayne. “We’re all there laughing and engaging in an evening of entertainment, but also seeing ourselves in some of the elements—the joyful qualities of humanity and the scarier qualities, too.”

[eddie-redmayne-italian-blog]

SPECIAL FEATURESEddie Redmayne First Played the Cabaret's Emcee in School, Now He's Doing It on Broadway

The actor is newly Tony nominated for his nihilistic take on the iconic character.

BY TALAURA HARMS MAY 10, 2024

Eddie Redmayne is gathering tips. As the Tony and Oscar-winning actor was opening a Broadway musical this season, he was also trying to figure out the best ways to navigate New York City for the six months that he’ll be in the show. His wife and two young children have joined him from London. They’re currently looking for ways to spend summer in the city. And speaking of summer, Redmayne is concerned about keeping his voice in good working order in a city with more air conditioning than he’s accustomed to having.

“I’m accumulating a little handbook of ‘The Survivor’s Guide to Broadway,” Redmayne laughs. “I’m a passionate lover of New York, so any excuse to come here…I’m thrilled.”

The excuse—and it’s a pretty good one—is Cabaret at the Kit Kat Club, which opened April 21 at the August Wilson Theatre. Redmayne reprises his role as The Emcee in the revival of the classic John Kander, Fred Ebb, and Joe Masteroff musical. Rebecca Fracknell directs the production, a West End transfer that won seven 2022 Olivier Awards, including one for Redmayne’s performance. The production has been a hit in the London, where it is currently still running.

Redmayne is the only member of the West End cast, though, to transfer to Broadway with the production. He’s joined at the August Wilson by Gayle Rankin as Sally Bowles, Ato Blankson-Wood as Clifford Bradshaw, Bebe Neuwirth as Fraulein Schneider, and Steven Skybell as Herr Schultz. And both Rankin and Redmayne have been Tony nominated for their performances; the show picked up nine nominations total, including Best Revival of a Musical.

“It’s been such a unique experience because it’s been starting anew and fresh whilst at the same time, having this character sitting in my stomach and ruminating for three years now. And my journey, of the relationship with the character, has been one that stems from, oh gosh, almost 30 years now from when I first played it when I was a schoolboy,” says Redmayne. “There is great joy that comes from that—from each time getting to re-mine the character and re-look at it in a different context and with a different inspiration.”

When Playbill spoke with Redmayne, the company was still in rehearsals for the Broadway mounting. As part of his continuing exploration of the Emcee, the actor had just revisited one of his favorite New York museums, the Neue Galerie of German and Austrian art on Manhattan’s Upper East Side. 

“I was looking at some of the Schiele paintings there and reminding myself of how, when I first started looking into the idea of The Emcee, just having portfolios of Schiele prints everywhere. That was one of the ways in. It was a lovely moment to reconnect and reinspire in the museum.” It is easy to spot the influence of the Austrian Expressionist painter Egon Schiele in the angles of Redmayne’s body as he looks over a shoulder, crooks an arm, or snarls a bit, daring an audience to come a little closer.

The original source material for Cabaret is the 1939 Christopher Isherwood novel Goodbye to Berlin. It was inspired by his own life during the Weimar Republic when the freedom of the Jazz Age was clashing with the rise of Nazism and fascism. The Emcee, though, is not a character in the novel, nor in the play adaption I Am a Camera. He was created solely for Cabaret and does not exist in any of the scenes outside of the Kit Kat Club. The lack of story for The Emcee has allowed Redmayne to create a character almost entirely from scratch.

“He exists almost in abstraction for me. The character is almost like a Greek chorus. He’s sort of the Shakespearean fool. The court jester who then becomes the king,” says Redmayne. “He can assimilate and accumulate people from every walk of life and community, and can seemingly either celebrate or exploit that. As the world is becoming more homogenized and fascism is kicking in, he can shape-shift his way out of it, and he’s going to be just fine. He has the privilege of that. There’s a nihilism, ultimately, to my take on The Emcee that felt important. He’s not the victim. He's the perpetrator.”

Cabaret first premiered on Broadway in 1966 and this production is the musical’s fourth revival. Except for the 1970s (when it was adapted for film starring Liza Minnelli), it has been on Broadway at some point in every decade since that first run. “There’s always been this relevance culturally, and that’s terrifying, because it basically sings as a warning to our incapacity to learn from our mistakes,” says Redmayne. “It’s about what happens when humanity is consumed by hate. And the idea of the creation of the other and the exploitation of the other to instill fear.”

Arguably, the musical’s draw has always also been as much about how it presents that message as the relevance of the message itself. The Kit Kat Club is seedy and seductive. It feels naughty…like you’re getting away with something you shouldn’t. And this new production pushes that element far beyond the footlights of a stage. Club, scenic, and costume designer Tom Scutt has reformed the August Wilson Theatre, creating spaces in the house and in the bar for a Prologue company to perform. Audiences are encouraged to arrive early to take in the music and dance cabaret acts prior to Cabaret.

Redmayne is reminded again of his museum visit: “When I was at the Neue Galerie, there was an exhibition on [Gustav] Klimt. This idea that this group of artists in Austria at the time, and then in Germany, were trying to create this world which was all-consuming. It wasn’t just the painting, it was also the specific space in the gallery…you were not just looking at the painting but the entire experience around it. I feel like that is, perhaps, the dream of what we’re trying to do. Once you leave the sidewalk and cross the threshold [into the theatre], you’re being taken on a journey that’s all encompassing.”

Boris Aronson’s original set design for the 1966 production of Cabaret featured a large mirror above the stage, tilted toward the audience so that they could see themselves reflected at both the beginning and end of the musical. Scutt has created a fully in-the-round stage at the Wilson. 

So while the audience is watching the action on stage, they will also be seeing other audience members’ reaction to the story. “There’s complicity in that,” says Redmayne. “We’re all there laughing and engaging in an evening of entertainment, but also seeing ourselves in some of the elements—the joyful qualities of humanity and the scarier qualities, too.”

Photographer : Heather Gershonowitz

https://playbill.com/article/eddie-redmayne-first-played-the-cabarets-emcee-in-school-now-hes-doing-it-on-broadw

[chestnutelm122]

Slime tutorials I’d probably be willing to pay for just to have a copy of:

Jessie Mueller:

• Waitress final performance (video, as I already have the audio)

• Waitress (with Charity Angel Dawson and Caitlin Houlahan — this duo too with Sara Bareilles)

• The Minutes

• Guys and Dolls (2022)

• The Music Man

• Carousel (as Julie Jordan)

• Any full P-Town concert videos

Sara Bareilles:

• Waitress (final performance on Broadway, reopening on Broadway, and any West End performances)

• Into The Woods (preferably opening or final performance, but I’d take any dates as long as it’s with the original cast of the revival)

• full ATC tour concert

• full Radio City Music Hall concert

Prima Facie:

• West End (opening/final performance)

• Broadway (opening, and when it gets available: final performance)

• WE or Broadway performance from any of the alternates

Fleabag:

• Any Phoebe Waller-Bridge performance (West End and/or Off-Broadway)

Wicked:

• Kristin Chenoweth’s vicodin show

Not a priority but would be nice to have:

• Harry Potter and the Cursed Child (original West End or OBC)

• Jagged Little Pill

• A Doll’s House (with Jessica Chastain)

• &Juliet (esp ones with Betsy Wolfe)

• SIX (I’ll take any of the OBC but generally looking for Abby Mueller’s final performance)

• The Play That Goes Wrong

• The Vagina Monologues (off-Broadway)

• Funny Girl (with Beanie Feldstein and/or Lea Michele)

• The Music Man (with Sutton Foster and Hugh Jackman)

• The Grey House (with Tatiana Maslany)

• Kimberly Akimbo

• Flower Drum Song (with Lea Salonga)

• God of Carnage

• The Thanksgiving Play (with D’arcy Carden)

• Camelot Revival

• Here Lies Love (with Lea Salonga)

If anyone can point me to the right direction, pleaaaaaaaaaaase do so. I’m accepting gifts ofc but I don’t mind paying a bit for my favorites, especially anything Jessie Mueller, Sara Bareilles, and Jodie Comer.

[broadwaydivastournament]

Broadway Divas Tournament: Round 4

It's been a little too relaxed around here these last few weeks. Very few wars, very few vicious fights among Diva fans. So. We're back to where we began with Bernadette vs. Patti and now Lea Salonga in the pit. If Lea hasn't been tossed back in after losing to Christine Baranski Round One, I'm confident my beloved Kelli O'Hara would have made it to Round 4 (and then been summarily eviscerated by Bernadette). So, to avenge my darling blonde soprano (a dying breed), here she is boys, here she is world, here's Patti.

Seven-time Tony nominee, two-time winner Bernadette Peters (1948) has a sixty-plus year stage career of monumental proportions. Considered the foremost Sondheim interpreter, their collaborative works include Sunday in the Park with George (1984), Into the Woods (1987), Gypsy (2003), and Follies (2011). She has a thriving concert career, and was a co-founder of the beloved Broadway Barks event each year in Shubert Alley. She has an honorary third Tony (Isabelle Stevenson Award) for her outstanding advocacy and philanthropy.

Lea Salonga (1971) made history in 1991 as the first Asian performer to ever win Best Leading Actress in a Musical for Miss Saigon. She was just twenty years old at the time, the second youngest, and now all these years later, she qualifies for our MILF tournament. Lea has starred in six Broadway shows including Les Miserables (as first Eponine and then later Fantine), Once On This Island (2017), and most recently a brief stint in Here Lies Love (2023). She is also the singing voice for Disney's Mulan.

Eight-time Tony nominee, three-time winner Patti LuPone (1949) has a staggering fifty-plus year stage career. Award-winning roles include Eva Peron in Evita (1979), Gypsy (2008), and Company (2022). She has toured the US with her wildly successful concert and cabaret acts, and will kill you on sight if she sees a cell phone in the theatre. Patti was NOT Norma Desmond on Broadway, and because of it, is the proud owner of the ALW Memorial Pool. She is no longer a member of Actors' Equity. Despite that, she will reportedly be back on Broadway next season in a straight play.

NEW PROPAGANDA AND MEDIA UNDER CUT: ALL POLLS HERE

"Time to prove that this is the Bernadette Peters website. Let's go, lesbians, let's go."

"She may have had a second chance at winning, but we've got to make things fair. Let's see how she does up against not one, but two of Broadway's biggest Divas."

"Just like her Broadway career, Patti LuPone rises from the dead. She's just here for the extra chaos, and I cannot wait to see the results."

[dontbebittah]

A History of Six Chaos: Broadway 1.0 (2020-2022)

The original Broadway cast had an inauspicious beginning, mostly because they were forced to close due to COVID during previews. Before the closure, alt Nicole Kyung-Mi Lambert became the first to perform on Broadway in an alternate costume, as they were technically against the US actor’s union rules but her principal costumes had not yet been completed when she needed to unexpectedly go on as Parr. Upon reopening in September 2021, the alternate system had been changed from 3 alts covering 5 roles with 2 primary covers, to 4 alts covering 3 roles each with Keirsten Hodgens joining as alt S/C/P. 

In March 2022, principal Parr Anna Uzele left the show to work on other projects and was replaced by Joy Woods. Soon after, former West End alt Hana Stewart joined the cast for a month as temporary alt A/S/P, becoming the second performer to wear an alt costume on Broadway (also to play Parr). Principal Seymour Abby Mueller then went on a medical leave and Keri Rene Fuller joined the cast as a temporary principal until May. 

On June 22nd, they had to cancel a performance due to cast illness. The following month, several emergency covers were needed; first Kelly Denice Taylor as Seymour on July 19th and 20th, then Cassie Silva as Boleyn on July 30th and 31st and August 5th and Howard on August 4th (both were Aragon tour alternates). Keri Rene Fuller also returned for one emergency cover performance on August 6th.

There was a mini-cast change on August 9th with Adrianna Hicks, Abby Mueller, and Joy Woods (the principal performers for Aragon, Seymour, and Parr) leaving the show and being replaced by Bre Jackson, Keri Rene Fuller, and Brennyn Lark respectively. Alts Ayla Ciccone-Burton and Holli’ Conway also joined the show at this time. Bre was unfortunately ill at the beginning of the run and had to leave mid-show for the first two performances, followed by taking a week and a half off to recover before returning. During this time, former cruise swing Marilyn Caserta made her Broadway debut as an emergency cover for Aragon on August 13th and 17th.

Stats: Total shows: 522 (including previews; 473 not including previews) Emergency cover performances: 9 Emergency performers needed: 4 (Kelly Denice Taylor, Cassie Silva, Keri Rene Fuller, Marilyn Caserta) Shows canceled (not counting closures due to COVID): 1 Alts/swings: 4 alts Temporary/short term performers: 4 (Hana Stewart as temp alt, Keri Rene Fuller as temp principal Seymour, Ayla Ciccone-Burton and Holli’ Conway brought in as alts towards end of run) Cast member changes: 4 (Joy Woods replaced Anna Uzele; Adrianna Hicks, Abby Mueller, and Joy Woods leave and are replaced by Bre Jackson, Keri Rene Fuller, and Brennyn Lark)

Overall chaos score: 5/10 (loses a point since this was a particularly long run and the cast changes were all planned, but gains a point for Hana)